9X07: JOHN DOE EPISODE: #9ABX07 STORY NO. E01469 ORIGINAL AIR DATE: 01/13/2002 WRITTEN BY: VINCE GILLIGAN DIRECTED BY: MICHELLE MacLAREN ========================== DISCLAIMER: ========================== THE X-FILES and all its characters, plotlines, quotes, episodes, etc. included here are owned by Chris Carter, and Ten Thirteen Productions, Twentieth Century Fox Film Corporation, All rights reserved. This transcript was made without their permission, approval, authorization or endorsement and it is absolutely forbidden to use it for commercial gain. Please let me know if you find any inaccuracies. If you would like to use this transcript on your site, let me know so I can visit you, too. I do ask that the transcript and all names and disclaimers be left intact to give credit to all those who have painstakingly made this possible for your enjoyment. Feel free to add on your own disclaimer for your particular site. All Spanish translations into English have been checked against the Official X- Files Shooting Script for accuracy. Copyright 2001 (c) Twentieth Century Fox Film Corporation - All Rights Reserved. Spanish translations/interpretations were taken off of closed-captioning. Transcript downloaded from: http://www.allthingx.com Thanks to steph@philedom2k.com For corrections / inaccuracies contact: steph@philedom2k.com or intrepidly002@yahoo.com ========================== OS SUMMARY: With no knowledge of his identity or his past, Doggett is found wandering a dusty Mexican town. He struggles to piece together his memory, how he lost it, and why he is stuck in a foreign place. ========================== 9X07: JOHN DOE ========================== SCENE #01: DAY ONE [INT. ABANDONED BUILDING - DAY - DOGGETT'S POV] (Upside-down close up of DOGGETT lying on the dusty concrete floor unconscious. His eyes are closed. His body jerks a bit.) (Slowly, the camera rotates bringing his face right side up. His body gives another little jerk. And another. DOGGETT'S eyes flutter open. Something has awoken him. He seems groggy. Whether it's from being unconscious or from another source, we don't know. His body continues to jerk. He wonders what's going on. He lifts his head to see ... ) (A CRACKHEAD is tugging on his right sneaker. He's trying to take the shoe off for himself. This is why DOGGETT has been jerking. He's trying to steal his sneaker.) DOGGETT: Hey! (The CRACKHEAD'S efforts increase.) DOGGETT: Hey, damn it! (The shoe slips off DOGGETT'S foot and the CRACKHEAD grips it in both hands. He backs off.) DOGGETT: My shoe ... (DOGGETT sits up, his eyes focusing. He's still groggy. The CRACKHEAD is a young Mexican. He hugs the Nike to his chest as he backs away warily from DOGGETT who has started to sit up. The CRACKHEAD runs. DOGGETT makes it to his feet, but he's still groggy. DOGGETT glances around and sees the empty warehouse for the first time.) [INT. ABANDONED BUILDING - DAY - DOGGETT'S POV] (From the view of what looks like a hand-held camera, DOGGETT sees an old abandoned warehouse, dark on the inside, the only light streaming in through the windows. It's empty and garbage strewn around. Hot, white sunlight filter in through the windows. The places looks unsanitary and looks as if it reeks with foul odor.) (DOGGETT is on his feet and begins to move after his shoe and after the CRACKHEAD who stole it. He rounds the wall just in time to see the CRACKHEAD disappear through a door in the far wall. DOGGETT stumbles forward, limping as he's only got one shoe on. He reaches the far door and pushes through into the white, blinding sunlight.) CUT TO: SCENE #02: [EXT. CIUDAD STREET - CONTINUOUS - DAY] (The sunlight whites out the entire world, bleaching everything into the color of bone. Our eyes adjust to this hot yellow-orange landscape, but never completely. Throughout the rest of this episode, the exterior day scenes will be slightly overexposed a la "Traffic".) (DOGGETT looks up and sees THE CRACKHEAD running away from him. Using the wall as a guide, DOGGETT manages to make his way determinedly after his shoe. His eyes are squinted which means that he hasn't completely adjusted to the light yet, but damnit, he wants his shoe back.) (He makes it to the corner and stops at what he sees. He's on the main drag of some remote hellhole of a town. The street isn't paved. It's dusty and dry. Dusty streets, stray dogs, clotheslines. Buildings crammed together, none more than a couple of stories tall - we've all seen places like these. All the signs are in Spanish. Lucky us. He's never been there before - at least he doesn't think so.) (Slightly distracted by the unfamiliar sight, DOGGETT takes it all in. He slowly looks around and then notices the CRACKHEAD who stole his shoe sitting on a nearby bench measuring his newly acquired shoe against his own feet. DOGGETT takes off after him.) (The CRACKHEAD spots DOGGETT and runs in the opposite direction. DOGGETT is determined to get his shoe back and proves to be much faster than The CRACKHEAD who stole his shoe. Within seconds, DOGGETT catches up to The CRACKHEAD and pushes him up against the lamp post. The CRACKHEAD won't give up the shoe.) CRACKHEAD (in unsubtitled Spanish): I didn't do nothing! Leave me alone, I didn't do nothing! DOGGETT: Give me my shoe! (The CRACKHEAD notices a police car pull up behind DOGGETT and draws his attention to them. The man yells and waves to them. Two Police officer emerge from the car.) CRACKHEAD (in Spanish): [TRANSLATION: Police! Police! Leave me alone, I didn't do nothing! Police! Help! I'm being mugged!] (DOGGETT looks over his shoulders and sees the two officer approaching them. The FIRST COP takes off his sunglasses and unbuckles his nightstick as he approaches, his partner behind him.) DOGGETT: Misunderstanding, officers. I'm the victim here! The guy ripped me off. (DOGGETT holds up the shoe THE CRACKHEAD stole from him. He's managed to get it away from the CRACKHEAD.) DOGGETT: Here, look. (The Police officer isn't interested in DOGGETT's shoe. The FIRST COP takes the sneaker and throws it some distance away in the middle of the dusty street. The SECOND COP has his nightstick unholstered and approaches the CRACKHEAD. The FIRST COP pokes and prods DOGGETT away from the CRACKHEAD. DOGGETT shuts up. He's surprised by this treatment.) DOGGETT: Hey! FIRST COP (in Spanish): [Translation: You American? You have your papers?] (DOGGETT is confused. He realizes that he doesn't understand what the FIRST COP is saying.) (Behind him, the SECOND COP hits the CRACKHEAD in the gut with his nightstick. He lets out a solid "oomph". DOGGETT turns to see the CRACKHEAD doubled over.) (The FIRST COP isn't through with DOGGETT. He snaps his fingers loudly in DOGGETT'S face gaining his attention. In his best English, he says: ) FIRST COP: Paper... paper. Visa... passport. (DOGGETT searches the pockets of his jeans and finds nothing. He shakes his head, no.) FIRST COP (in Spanish): Cual es tu nombre? Nombre? (in English) What is your... name? (DOGGETT thinks about the question, tries to remember and realizes that he doesn't. The camera moves in close on DOGGETT as his face registers this fact. He shakes his head.) DOGGETT: I-I... I don't know. CUT TO BLACK. Captioning sponsored by Fox Broadcasting Company Twentieth Century Fox Television and Toyota. Get the feeling. TAG LINE: THE TRUTH IS OUT THERE (COMMERCIAL SET) SCENE #3: DAY TWO FADE IN. [INT. MUNICIPAL STATION - CALABOZO - DAY] (Through the grimy steel bars of the local Municipal Mexican Police Station, we see DOGGETT'S sneakered feet: One shoe on and one grimy, soiled white sock. Behind him, sit dozens of other jailed Mexican men.) (DOGGETT reaches down and tears off his shoe. The camera moves up to DOGGETT. He is trying to get the guard's attention. He peels off his remaining shoe and starts hitting the jail bars with it, making a lot of noise in the process. He's agitated and clearly not happy about his situation.) DOGGETT: Hey, guard! Come here! Andale! Hey, guard! Somebody come here! (Being unsuccessful in his attempt to attract the guard's attention, DOGGETT gives up and proceeds to put his one remaining shoe back on his foot. We can see that he is in an overcrowded group cell. There are only hard benches to sit or to sleep on and there aren't even enough of those for all fifteen to twenty men there. DOGGETT is the only Anglo there.) (One of the Mexican men incarcerated with him, observes him putting his shoe back on and begins to chuckle at the sight. DOGGETT sees him and is clearly annoyed.) DOGGETT: Something funny? Yo soy ha-ha? (The man surprises him and answer in good, accented English.) DOMINGO SALMERON: Nice touch -- putting it back on ... your one shoe. (DOGGETT keeps tying the shoe until done. Oh, yeah. He sees his point, but who really cares?) DOGGETT: Yeah, well, maybe I like to hop. (eyeing him) You speak English. Why didn't you say something before? (DOGGETT finishes tying his shoe and stands up to face the Mexican man sitting on the bench.) DOMINGO SALMERON: You weren't funny before. DOGGETT: Uh-huh. Where are we? What's the name of this place? DOMINGO SALMERON: What, the jail? DOGGETT: The town? Tell me the name of the town. Tell me where I am. (DOMINGO SALMERON looks at DOGGETT. He seems intrigued by the Anglo in front of him.) DOMINGO SALMERON: Sangradura. DOGGETT: Mexico? DOMINGO SALMERON: Man, if you can't remember you must have had one fine good time getting here. (Although DOGGETT wonders, he seriously doubts this is true.) DOMINGO SALMERON: What's your name? (DOGGETT remains silent.) Damn, you don't know that either, huh? (Chuckling, the man stands up and approaches DOGGETT.) DOMINGO SALMERON (to DOGGETT): Call you "one shoe." (to his fellow cellmates) Seņor un zapato, huh? (The men laugh.) DOMINGO SALMERON: Hey, One Shoe, what do you know? DOGGETT: I know I'm getting the hell out of here. DOMINGO SALMERON: You got money to bribe the police? That's what it takes. DOGGETT: I just need to get to a phone and call the U.S. Embassy. DOMINGO SALMERON: Yeah, they can get you home, I guess. Where is home? (He takes a step closer to DOGGETT and says quietly,) DOMINGO SALMERON: You know what I think, One Shoe? Maybe getting home is not in your best interest. DOGGETT: How's that? DOMINGO SALMERON: This isn't Tijuana or Cabo. We don't see Americans in this town unless they're on the run from something, somebody. This town ... people like you come here to disappear. DOGGETT: "People like me?" You don't know me. DOMINGO SALMERON: Hey ... you don't know you. (DOGGETT glares at him. The man shrugs. DOMINGO walks away. DOGGETT is left with the echo of the truth of his words. He turns away from the group and faces out the jail door bars. He is clearly troubled, feverishly wondering for the thousandth time who he is and what the hell has happened to him.) CUT TO: SCENE #4: BLACKNESS (Out of the darkness appears a tiny pinpoint of white in one corner. It is so subtle that we probably don't notice it at first. The light grows bigger and brighter. It engulfs the blackness in the intensity of its living brightness. The light seems alive as it grows and breaks though the blackness into ... ) [INT. DOGGETT FAMILY HOUSE - MORNING -- MEMORY HIT] (Through the flash of light, DOGGETT is sleeping. The camera is above him looking down on him. DOGGETT looks peaceful and a few years younger than what we're used to. He's sleeping in bed comfortably next to a blonde woman. She's presumably his wife. Her back is to us. It's morning.) (The bed begins to jiggle. DOGGETT stirs. His wife continues to sleep. The bed jiggles some more. A couple of child's sneakered clad feet straddle DOGGETT on either side of him. Two skinny little legs in shorts and sneakers. We hear the voice of a seven year-old boy calling out to his ... ) LUKE (o.s.): Daddy, daddy! (The flash of light withdraws returning DOGGETT back to the present. He draws in a breath. He wakes up back in the Mexican jail cell.) [INT. MUNICIPAL STATION - CALABOZO - LATE DAY] (DOGGETT looks a little bit scruffier than when we last saw him. He has stubble and though the time he's spent in the jail has worn him down some, left him filthy and hungry - it hasn't made him weak.) (The vision of what he saw unknown to him leaving him with nothing but a headache. He rubs his forehead and slowly recovers from the intense memory flashback. He stares off into space as the golden glow of the late afternoon sun filters in through the window.) CUT TO: SCENE #5: DAY EIGHT [INT. MUNICIPAL STATION - CALABOZO - LATE DAY] (Eight days later and there are almost three times as many men in the jail cell with DOGGETT. DOGGETT leans his head back against the wall and looks up at the ceiling. Keys jangle, the door opens and two men enter the room. One is the FIRST COP, the one who arrested him. The other man is an unknown Mexican man. He stands in the corridor and calls in to the overcrowded jail.) FIRST COP: Domingo Salmeron. (From his spot in the back of the jail cell, DOMINGO SALMERON rises and walks to the cell door. Like DOGGETT, he has a week's beard. Relieved, he calls in Spanish to his friend standing with the cop.) DOMINGO SALMERON (in unsubtitled Spanish): Nestor! I'm growing old in here! NESTOR (in unsubtitled Spanish): I worked as fast as I could. These things take what they take. (The FIRST COP hands DOMINGO SALMERON his watch.) DOMINGO SALMERON (in unsubtitled Spanish to the cellmates he leaves behind): Gentlemen, a pleasure. (The FIRST COP opens the cell door. DOGGETT watches as the one man who speaks his language walks out of the cell. DOMINGO SALMERON is heading toward the exit when he pauses. He looks back at DOGGETT, points to him and murmurs to the FIRST COP in unsubtitled Spanish.) DOMINGO SALMERON: (in unsubtitled Spanish): How much for him? Expensive? FIRST COP (in unsubtitled n Spanish): Not much. Why? You in love? (DOMINGO SALMERON smirks. Ha-ha, very funny. DOGGETT listens closely, trying to figure out what's being said. DOMINGO SALMERON calls to him.) DOMINGO SALMERON: Hey, One Shoe nobody coming for you. You want to hop out of here with me? (DOGGETT studies him, suspicious of the offer.) DOMINGO SALMERON: I've got a job for you. (This is news to NESTOR, who is standing behind DOMINGO SALMERON. He doesn't like the sound of it one bit.) NESTOR (in unsubtitled Spanish): Domingo ... what is this? DOMINGO SALMERON: Nestor ... (DOMINGO SALMERON holds up his hand in silence.) DOGGETT: What kind of job? DOMINGO SALMERON: What the hell do you care? (DOGGETT considers the offer. DOMINGO SALMERON has a faint smile on his face. The camera lingers on DOGGETT who considers the offer.) CUT TO: SCENE #6: [EXT. MUNICIPAL STATION - LATE DAY] (The old sign above the police station reads: "COMISARIA DE POLICIA." The three men burst out of the building and onto the dusty sidewalk.) (DOGGETT is barefoot. He's holding his shoe in his hand. He's walking fast. DOMINGO SALMERON walks slightly beside him/in back of him and NESTOR is behind the two men. DOMINGO SALMERON is chatty when he's free.) DOMINGO SALMERON (to DOGGETT): You work hard, maybe I'll even buy you another shoe. Right one, left one ... your choice. (DOGGETT isn't listening. They reach an old Ford Ranchero parked at the curb. DOMINGO and NESTOR slow down. DOGGETT keeps walking past the car.) DOMINGO SALMERON: (whistles) Hey! Right here! (DOGGETT pauses and glances back at them.) DOGGETT: Thanks. Some other time. (DOGGETT turns and keeps walking. He seems to know where he's going. He seems determined to get there. The two Mexican men watch in disbelief. They hurriedly walk after DOGGETT.) DOMINGO SALMERON: Hey! He-e-e-ey! (NESTOR runs to catch up to DOGGETT and puts a rough hand on his shoulder, grabbing his shirt to turn him around. DOGGETT spins around dislodging NESTOR's grip on him and issues his warning.) DOGGETT: You watch your hands. (NESTOR seems unphased by it. He doesn't like DOGGETT at all. DOGGETT hold's NESTOR'S gaze.) DOMINGO SALMERON: You're bought and paid for. You understand? I own you like I own that car. (DOGGETT stares at both men evenly. He's got nothing to lose, and he's in no mood. Quietly, he says: ) DOGGETT: I'll pay you back your money. DOMINGO SALMERON: You don't tell me what you'll do. I tell you what you'll do. (DOGGETT looks at DOMINGO. Once more, he turns and resumes his walk. He gets no more than a couple of steps away, when NESTOR pulls out a .38 revolver and plants it in the middle of DOGGETT'S shoulderblades.) (DOGGETT stops walking. He's more annoyed than frightened by the gun. He slowly turns back around. NESTOR looks on reveling in the power of holding a gun on the Anglo. DOGGETT brings up his hands as if to surrender himself.) (Then, in one swift, beautiful move, he claps them together, bending back NESTOR'S wrist in an unbearably painful angle and successfully disarms the man. He aims it at DOMINGO, the tables are turned.) (DOMINGO SALMERON is not scared by this twist. He doesn't raise his arms in surrender. DOGGETT doesn't take his eyes off of DOMINGO SALMERON.) DOMINGO SALMERON: This makes one thing we know about you. You're not a man of your word. (DOGGETT considers DOMINGO'S words. This troubles him. He cautiously reaches over to pick up his one remaining shoe that he dropped and backs off. With his other hand, he breaks open the cylinder and empties the bullets from the gun. He walks away, tossing the gun in the nearest trash can as he passes it by. He doesn't look back. DOMINGO SALMERON and NESTOR are left standing and staring intently after him.) CUT TO: SCENE #7: [INT. ABANDONED BUILDING - LATE DAY] (Leaning against the wall and sitting on the floor, the CRACKHEAD smokes his pipe. He's wearing a filthy, old, worn KED on one foot and DOGGETT'S Nike on the other. The CRACKHEAD is completely out of it He exhales a cloud of white smoke while murmuring under his breath.) CRACKHEAD (in Spanish): Callante ... [I'm trying to concentrate ... ] (The CRACKHEAD opens his eyes in time to see DOGGETT reach over and grab him by the shirt to drag him to his feet. DOGGETT demands he return what belongs to him.) DOGGETT: It fit good? Mi zapato. CRACKHEAD: No, no ... DOGGETT: What else of mine you got? My wallet, my documents? Mi documentos? CRACKHEAD: No. No documentos ... No ... (DOGGETT holds the man up by his shirt collar as he searches him.) DOGGETT: What else did you take from me? Show me what else you got. Show me! Show me! Que es mio lo pido! (The CRACKHEAD reaches into his pocket. He fumbles and pulls out something. He gives it to DOGGETT.) CRACKHEAD: Ya estuvo. No more. No more. (The camera shows us a tiny Silver Skull charm. It's no bigger than a dime. The hook is broken and protrudes from the top. It may have come from a piece of jewelry. DOGGETT studies it closely. The CRACKHEAD murmurs.) CRACKHEAD: Desaparecio. (DOGGETT turns to look at the CRACKHEAD. Confusion at what the man said.) DOGGETT: Desaparecio? I'm desaparecido? (THE CRACKHEAD nods.) DOGGETT: What does that mean? No comprendo. CRACKHEAD: Desparecido ... (Not knowing how to translate it, the CRACKHEAD holds up both of his hands and quietly goes "poof" and wriggles his fingers in a motion of something disappearing into thin air. DOGGETT clearly is unsettled by this.) CUT TO: SCENE #8: [EXT. CANTINA - NIGHT] (Sangradura's main road at night isn't much livelier than day time. The familiar Ford Ranchero is parked at the curb outside the local Cantina --the town's one hot spot.) SCENE #09: [INT. CANTINA - NIGHT] (A can of Tecate is opened, a lime wedge is squeezed and salt shaken onto the top of the can. DOMINGO SALMERON drinks. He's seated at the bar. NESTOR is in the seat next to him blowing rings with his cigar. I am told that this is a "real" old-fashioned Mexican Cantina where no women are allowed. Lively Mexican music fills the air.) (NESTOR sees something that attracts his attention and gives DOMINGO a tap on the shoulder.) (DOMINGO casually looks at the mirror behind the bar and sees DOGGETT enter. DOGGETT makes his way to the only people he knows in the town.) (DOGGETT stands next to the two men. DOMINGO doesn't acknowledge his presence although we all know that he knows that DOGGETT'S there. NESTOR throws evil glances at DOGGETT.) DOGGETT: What's the job? (DOMINGO SALMERON snorts to himself) DOMINGO SALMERON: We're movers. DOGGETT: What do you move? DOMINGO SALMERON: Mexicanos, Guatemaltecos, sometimes even Chinese. Drive them up north, across the border into McAllen. DOGGETT: You're coyotes. DOMINGO SALMERON: Don't turn your nose up at me. For all you know, you've spent your life fondling little boys. (NESTOR mutters something in Spanish to DOMINGO. He doesn't take his eyes off of DOGGETT.) NESTOR (in unsubtitled Spanish): No digas que quieres trabajar con este hijo de perra. [Translation: Tell me we're not working with this son of a bitch.] (DOMINGO SALMERON sips his beer.) DOMINGO SALMERON: You start tomorrow. I'd invite you to have a drink with us but Nestor hates you. They'll rent you a room upstairs. (He dismisses DOGGETT.) DOGGETT: I don't have any money. (DOMINGO SALMERON pulls out some bills from his shirt pocket and tosses them onto the bar in front of DOGGETT.) DOMINGO SALMERON: First month's salary. Don't try and leave town. (DOGGETT takes the cash. He starts to walk away, then pauses. He holds out the small silver skull charm that he got from the CRACKHEAD.) DOGGETT: This mean anything to you? (NESTOR recognizes the charm but remains silent. DOMINGO SALMERON appraises it coolly. He shakes his head.) DOMINGO SALMERON: Not a thing other than the fact that you have silver in your pocket and you still ask me for money. (DOMINGO turns back to his drink. DOGGETT studies him, trying to discern whether he's lying or not. He walks away. NESTOR turns to his friend. He's worried about the entire situation.) NESTOR (in translated Spanish): Why are you doing this? It's a bad idea, Domingo. You don't know what this one wants. (DOMINGO shrugs him off.) DOMINGO SALMERON (in translated Spanish): He just wants to remember. Same as all the rest. (DOMINGO SALMERON isn't worried. NESTOR, however, just doesn't like it one bit.) CUT TO: SCENE #10: [INT. 20 PESO ROOM - NIGHT] (Close up of DOGGETT looking in the mirror at the face he's never seen before. He turns this way and that, pouring over his features, angling his head. He's trying to remember anything about himself. He notices something and uses both hands to push away at the hair of his temple to reveal a small scab shaped like a crescent moon. It's been healing. He runs his fingers through his hair and finds another identical scab on the opposite temple. This doesn't help his memory one bit.) (DOGGETT strips off his shirt and begins to study the rest of himself in the tiny mirror. On his left shoulder, he discovers an old tattoo. It's the globe and anchor, the familiar symbol of the Marine Corps. In tiny letters it says: "24th MAU. We Shall Not Forget.") (Wonder crosses DOGGETT'S face as it dawns on him.) DOGGETT: I'm a marine. Semper fi. (This doesn't stir anything for him.) CUT TO: SCENE #11: [EXT. CANTINA - CONTINUOUS - THE WINDOW] (Outside. Down on the street below, the faint yellow glow of the light from DOGGETT'S room glows. In it, we see DOGGETT'S silhouette. Watching him from the street below is a man. This is no one we know. He is alone on the quiet street.) (The Man turns away and lights up a cigar. This is the CABALLERO. He holds his lighter to the cigar and we see around his right wrist is a silver link chain with several silver skull shaped charms. One of which is conspicuously missing.) (The CABALLERO exhales white smoke all around him. For whatever reasons, he is interested in DOGGETT.) FADE OUT (COMMERCIAL SET) SCENE #12: DAY TWELVE [INT. KERSH'S OFFICE -- DAY] (DEPUTY DIRECTOR KERSH is seated at his desk. He's intense and interested.) KERSH: A.D. Skinner, Agent Scully. What's this I'm hearing about Mexico? (Across his desk, SCULLY hands KERSH a photograph.) SCULLY: Well, this came in last night from U.S. Customs. It's a blowup from a security camera at the border crossing in Laredo Texas. (KERSH takes the photo. In the bottom left corner of the photo, it says, "LAREDO, TX BORDER BRIDGE". It's a grainy black and white of DOGGETT. He's seen in sneakers, jeans, t-shirt and dark jacket. He's crossing the border bridge on foot at night. SCULLY: It was taken at 12:50 A.M. On the morning of the fourth. KERSH: We're sure this is Doggett? SKINNER: It's been scanned to Agent Reyes. She also believes it is him. KERSH: I'd say this reshapes the investigation. SKINNER: It's our first solid lead. Now, with your permission, I'd like to contact our Legat's office and extend our task force south of the border. KERSH: I'm not extending the task force. I'm disbanding it. SCULLY: Excuse me? KERSH: I see no other choice. For the past 12 days I've had 40 agents working overtime scouring the entire state of Texas in what appears to be a waste of effort. I can't move them lock, stock and barrel into Mexico -- not on the strength of this. (SKINNER can't believe what he's hearing. He sits back in his seat.) KERSH (to SKINNER): Turn it over to the Mexican Federal police. Doggett's in their jurisdiction, not ours. SCULLY: Sir, he could be injured. KERSH: Whether you believe it or not I want to find him as badly as you do. But the FBI's resources are already taxed by national security concerns. There are political realities I have to account for. (Hoping to salvage the operation, SKINNER offers a thought.) SKINNER: Sir... Agent Reyes is still in San Antonio. She was raised in Mexico. She could offer the federal police some on-site help. KERSH: She can help them all she wants. (KERSH returns the photograb back to SCULLY.) KERSH: But from this side of the border. CUT TO: SCENE #13: FBI FIELD OFFICE SAN ANTONIO, TEXAS [INT. OPEN INTERVIEW ROOM - DAY.] (REYES is sitting at a small interview table across from the two men she's interviewing. Behind her, agents fill the room. There's a clear map of the mid-southwest U.S. on the wall behind her.) (The two men in front of her is MR. MARIANO MOLINA and his LAWYER.) REYES: Mr. Molina, you're a hard man to get an audience with. I've been trying for the better part of two weeks. What's keeping you so busy? MARIANO MOLINA: Selling tractors. I own the biggest farm equipment dealership in South Texas: AGCO, John Deere, New Holland, CAT.. REYES: Impressive. (in perfect subtitled Spanish) What about drugs? Are they on your inventory, too? You know... cocaine, AGCO, John Deere? ... (MARIANO MOLINA'S not happy with this interview. Apparently, MR. MOLINA'S LAWYER doesn't speak Spanish.) LAWYER: I'm sorry, I don't speak Spanish. MARIANO MOLINA: She says I sell drugs. LAWYER: Please don't speak Spanish anymore. (REYES barely glances at Mariano Molina's LAWYER. Her attention is focused on MARIANO MOLINA. REYES opens a folder in front of her and pulls out a photograph. She places the photograph in front of MR. MOLINA.) (The photograph is of a white, dark-haired businessman.) REYES: You know Hollis Rice, don't you? Vice president of Pan American Mercantile? (MARIANO MOLINA picks up the picture and studies it.) MARIANO MOLINA: Sure. I do business with this man. I know he's missing. REYES: My partner, John Doggett, was investigating his disappearance. I'm betting my partner came to you with questions. MARIANO MOLINA: When would this have happened? REYES: Two weeks ago. MARIANO MOLINA: No, sorry. I don't remember any person named Doggett. LAWYER: Agent, I don't quite know what you're implying. Mr. Molina's an upstanding businessman and a pillar of the commun... REYES: (cutting him off) "Pillar of the Community?!" Does anyone actually use that phrase except mob lawyers? (REYES is angry and turns back to MARIANO MOLINA.) REYES: I'll tell you what's clear to me. You're some kind of middleman in a smuggling operation. Hollis Rice laundered money for your cartel until something went wrong. Maybe he got greedy, maybe he talked too much. Your cartel made him disappear. LAWYER: Agent... (REYES is on a roll, not stopping now. She is angry and doesn't even bother trying to hold it back. She's terrified for her missing partner and she despises this shyster and his scumbag client. And it shows.) REYES: My partner has disappeared, too. He's in Mexico, I know that much and I will find him, whatever it takes. Your only personal hope for the future is that I find him alive. Now where is he? (Wow. Mariano Molina's LAWYER intervenes without skipping a beat.) LAWYER: Unless my client is under arrest this meeting is over. (off REYES' silence) No? Come on, Mariano. (Mr. Molina's LAWYER stands up and leaves. MARIANO MOLINA stands. REYES stands and stops MARIANO MOLINA before he leaves. She's frustrated as hell and just as mad to boot.) REYES (whispering in subtitled Spanish): Think hard about your future, Mr. "Pillar of the Community". (MR. MARIANO MOLINA glares at her and leaves. REYES is left stymied and severely pissed off.) CUT TO: SCENE #14: [INT. DOGGETT FAMILY HOUSE - MORNING (MEMORY HIT)] BLACKNESS. (The white pinpoint breaks through the blackness and grows larger and bigger till it encompasses the entire screen. It takes us back to ... (A little blonde-haired boy jumping on DOGGETT'S bed. DOGGETT is lying down on the bed. The little boy is eager.) LUKE: Daddy. (DOGGETT opens his eyes. LUKE is looming straight over him. He's straddling the frame and jumping eagerly on the bed.) DOGGETT: Hmm? LUKE: Get up, I want to show you something. Come on. (The little boy jumps down from the bed and turns to get DOGGETT. DOGGETT glances at the bedside clock. It reads 5:28 a.m.) LUKE: Let's go, Daddy! Come on! Please! [Closed Caption reads that LUKE says instead: Daddy, daddy, daddy!] DOGGETT: Can it wait another hour? LUKE: No. DOGGETT: Why, what is it? LUKE: A surprise. Come on ! (LUKE tugs at DOGGETT'S arm. DOGGETT wants to sleep, but his son is just too cute and his excitement too contagious. This kid just won't be denied.) DOGGETT: Shh, don't wake your mom. (DOGGETT gets out of bed.) (The phone rings.) FADE TO WHITE. CUT TO: SCENE #15: [INT. LARGA DISTANCIA OFFICE -- DAY] (The phone ringing jars DOGGETT out of his MEMORY FLASHBACK. He raises his arms to his temples. These things hurt. It appears also that these memory flashbacks take a moment for him to recover. When he looks around, the townsfolk sitting on the other benches are looking at him ... and watching his odd behavior.) (The telephone is still ringing.) (The SECOND COP from earlier is standing at the counter with the female OPERATOR. They are all staring at DOGGETT. The OPERATOR looks at him and points to the phones nearby.) OPERATOR: Seņor? Seņor? Cabina tres. (The OPERATOR indicates the ringing phone. DOGGETT rises to get the phone.) INTERCUT WITH: SCENE #16: [INT. CAMP LEJEUNE OFFICE - DAY] (A desk phone rings and a hand picks it up.) STAFF SERGEANT McCORMICK (in USA): Marine Corps Public Affairs Office. Staff Sergeant McCormick speaking. CUT TO: DOGGETT: Yeah, uh ... this is Detective, uh... (DOGGETT glances around the room looking for some inspiration for a name to give the Staff Sergeant on the phone. His eyes pass the glass window: "HOURS" / Agierto de 8:00 am a 5:00 pm / Lunes a viernes / sabado de 10-2 ... " Next, he spots a telephone sign that says: Ladatel: "De Venta Aqui". He latches onto that.) DOGGETT: ... Ladatel calling from Mexico. I'm hoping you can give me some help. STAFF SERGEANT McCORMICK: Yes, sir, if I can. DOGGETT: We've got a Marine down here who's been hit by a taxicab. He's been messed up pretty good. He doesn't remember his own name. He doesn't have any ID. We need to contact his family. I assume there's somebody somewhere who's worrying about him. STAFF SERGEANT McCORMICK: Any chance you can give me a social security number or a date of birth? (DOGGETT double-checks his tattoo as he answers.) DOGGETT: No, unfortunately, uh, the only thing I have to go by is there's a tattoo on his left shoulder that says "24th M.A.U. We shall not forget." You have any idea what that means? STAFF SERGEANT McCORMICK: Yes, sir, I do. The 24th Marine Amphibious Unit. It refers to the Lebanon barracks bombing in 1983. That narrows things down. DOGGETT: Yeah, good. Good. This guy's ... I don't know, he's six feet, 190 pounds. Brown hair, blue eyes, about 40 years old. (hope and a touch of desperation lace his voice) If you could just put a name to him. If you could just tell me anything at all about him. Anything. (DOGGETT tries to make his voice sound casual, but the emotion and the desperate hope in his eyes betray him.) STAFF SERGEANT McCORMICK: We'll definitely look into it. (The Door to the establishment opens. DOGGETT sees two federales walk into the building and talk with the woman behind the counter.) STAFF SERGEANT McCORMICK: Detective, do you have a number where I can reach you? Detective? ... ? (The camera moves from the policia and the OPERATOR to the telephone that's back on its hook. DOGGETT is not there.) CUT TO: SCENE #17: [EXT. DOMINGO'S GARAGE -- AFTERNOON] (On the outskirts of town, a large, old building stands amidst piles of abandoned lumber and other junk. It's truck door is wide open. And from inside an engine revs and idles.) [INT. DOMINGO'S GARAGE - CONTINUOUS] (The camera creeps along the garage floor. A large filthy air filter hits the floor and rolls off screen. The camera climbs up the vehicle and we find DOGGETT elbow grease into the engine of the old school bus he's trying to fix.) (From the angle of his arms, he's pulling the trottle linkage to make the engine rev and idle. In the background, NESTOR sits reading a Mexican paper. He's not grinning. Neither is he working.) (DOMINGO SALMERON walks into the garage. He's smiling at the sound of the engine reving and idling. He seems pleased with the results.) DOMINGO SALMERON: Hey. Sounding good. (DOGGETT lets the motor die.) DOGGETT: Sounding better than it was. It won't sound good until it gets new seals. (DOMINGO turns to NESTOR.) DOMINGO SALMERON (in unsubtitled Spanish): More than you ever did! Sitting on your ass ... (DOMINGO gives NESTOR's chair a kick. Although it sounds like DOMINGO is ribbing NESTOR in good-natured fun, it has the opposite affect and just ticks NESTOR off more. NESTOR doesn't like being compared to DOGGETT. DOMINGO turns his back on NESTOR and turns once more to DOGGETT who has jumped off of the bus and wipes his greasy hands on a dirty old rag.) (DOMINGO turns to lavish praise on DOGGETT who really isn't paying much attention to DOMINGO. NESTOR, however, notices and isn't happy about it.) DOMINGO SALMERON: Thank god I got somebody worth a damn. If you'd only drive for me. DOGGETT: You got a few odd jobs, fine. I'm not breaking the law for you. DOMINGO SALMERON: A man of principle... (sidelong glance) as far as you know. (DOMINGO takes out a folded piece of paper from his pocket. He unfolds it.) DOMINGO SALMERON: Found something out about you today. (DOGGETT turns around to give DOMINGO his attention. DOMINGO hands the unfolded piece of paper to DOGGETT. It's a Mexican wanted sheet. "Se Busca". It's the Mexican Federal Police version of an APB. No photo, but there's a terse description in Spanish of an American wanted for murder. It gives his height, weight, age and description. All of which match DOGGETT'S.) DOMINGO SALMERON: You're not going to like it. Says your name is Henry Bruck. The Federales are looking for you in connection with a double murder. DOMINGO SALMERON: Doesn't give details but that description's you as far as I can see. Don't take it so hard. A man does what he does. I'm not judging you. Just keep away from the Federales, okay? We'll keep you safe. (DOMINGO walks away leaving DOGGETT with the wanted sheet in his hands. NESTOR sits in his seat behind him seething his hatred.) CUT TO: SCENE #18: [EXT. CANTINA -- NIGHT] (This night is quiet. The Ranchero is not parked here in front of the Cantina. A lone figure stalks into frame from out of the darkness. It's NESTOR. He glances back and front to see if anyone's watching him. He heads toward the cantina.) CUT TO: SCENE #19: [INT. CANTINA - NIGHT] (Inside the bar, silver skulls jingle from a left wrist in the foreground. From the back of the room, NESTOR enters the bar. He sees the CABALLERO sitting alone at his table and approaches him.) (NESTOR stops at the table, but doesn't take a seat.) NESTOR (in Spanish): May I speak with you? (The CABALLERO nods slightly. NESTOR sits down.) NESTOR (in Spanish): You know Domingo, my boss? He's a friend to the Cartel, as am I. Domingo took on one of the disappeared ones. An American. But this American, whoever he is, is different. (The CABALLERO finally looks at NESTOR.) I sense I'm telling you something you already know. CABALLERO (in Spanish): He's an FBI agent. (NESTOR reacts to this news.) NESTOR (in Spanish): Why is he still alive? CABALLERO (in Spanish): Same as everyone, I take my orders from the Cartel. My orders didn't mention killing the man. CABALLERO (in Spanish): Of course, if he were to die tonight, it's no concern of mine. (NESTOR listens intently to the man and hears what he is saying.) CUT TO: SCENE #20: FBI FIELD OFFICE SAN ANTONIO, TEXAS [INT. INTERVIEW ROOM - NIGHT] (SCULLY walks into the empty office. She's carrying an overnight bag with her. She's just arrived an she's moving toward REYES. The Agent points across the room and hands her a piece of paper. She takes the piece of paper from him and makes her way toward REYES while reading it.) (REYES is standing in the foreground. She's alone in the interview room. She's standing by the counter pouring over files and various papers scattered across the table.) SCULLY: Monica. REYES: Dana. SCULLY: Surprise, surprise. REYES: How did you escape Kersh's cost-cutting regimen? Did you see? He shut us down. (REYES nods her head toward the abandoned bullpen. She makes no attempt to hide her bitterness.) SCULLY: Well, actually he doesn't know that I'm here. Nor does he know that Skinner is headed to Mexico to consult with the federal police. (REYES smiles her gratitude. SCULLY looks back at the paper in her hand.) SCULLY: Perfect timing, I hope. Look what just got handed to me. (SCULLY shows the piece of paper to REYES.) SCULLY: This says that someone in Mexico is trying to track down a former marine matching Doggett's description. (as REYES reads) It says that he was in an accident and possibly suffering from amnesia. (REYES looks at the paper. She notices something else.) REYES: Wait... Detective Ladatel? SCULLY: Yeah, that's who placed the call. Does that sound familiar to you? REYES: Ladatel is a Mexican telephone calling card. (Sounds like something worth investigating.) SCULLY: We'll trace the call. (SCULLY walks out of the room to follow up on the information. The camera lingers on REYES who hopes desperately that this lead will pan out.) CUT TO: SCENE #21: [INT. DOMINGO'S GARAGE -- NIGHT] (The camera moves slowly across the floor of the dark garage. There is light, but what little light there is is blocked by the large bus. Under the bus, DOGGETT is diligently working. He's lying on his back on a wheeled mechanic's board. He's under the engine, his feet sticking out from under the front bumper. The bus appears to be lifted up by a heavy duty lever jack.) (DOGGETT is alone. We sense he's working to occupy himself, to keep his mind off of his problems. But he can't seem to concentrate. He puts the wrench aside and looks at the silver skull charm. He studies it intently, wondering at its significance.) (The creak of a door grabs his attention. He hears slow footsteps approaching. Something's not right.) DOGGETT: Domingo, is that you? (The footsteps approach the bus and stop near the heavy duty lever jack. It's NESTOR.) DOGGETT: Siempre trabajo. (NESTOR looks at DOGGETT. He has a strange glint in his eye.) NESTOR: I speak English, by the way. DOGGETT: Yeah? (This is news to DOGGETT. NESTOR is working up his nerve to make a move and somehow DOGGETT sense this. He also realizes that he's at a disadvantage.) NESTOR: Yeah. See you in hell, FBI. (DOGGETT reacts to this. NESTOR reaches for the revolver tucked in his waistband and draws it ...) (DOGGETT moves just as quickly. He hits the heavy duty lever jack causing the bus to drop. The bus falls on NESTOR'S foot causing him to bellow out in pain.) (The drop lamp goes out when the bus falls casting the entire garage in darkness. NESTOR rips his foot out of his shoe which is still stuck under the bus. His foot drips. He limps over and manages to check out the bottom of the bus. No DOGGETT. The camera rises along with NESTOR who arcs around the garage looking for any sign of DOGGETT. Where the hell did he go? A little beyond NESTOR, we see DOGGETT easing into view on the roof of the bus above us all.) (NESTOR sees him too late. He spins around and brings his gun up just as DOGGETT launches himself at him.) CUT TO: SCENE #22: [EXT. DOMINGO'S GARAGE - NIGHT] (We hear a gunshot, see the strobe of a muzzle flash in the dark window. Then, all is silent.) FADE TO BLACK. (COMMERCIAL SET) SCENE #23: [EXT. DOMINGO'S GARAGE -- NIGHT] (DOMINGO'S Ford Ranchero drives down the road and stops right outside his garage. DOMINGO heads inside, completely unaware of any trouble.) SCENE #24: [INT. DOMINGO'S GARAGE - NIGHT] (DOMINGO opens the truck door and walks through. He pauses when he sees the body on the garage floor. He realizes it's his friend, NESTOR, and he runs to see. Its facing up and lying in a pool of blood. This hits DOMINGO hard.) DOMINGO SALMERON: Nestor? (He rushes to the body. NESTOR has been shot in the forehead.) [Closed-caption only: Oh, god, no!] DOMINGO SALMERON: Nestor! (DOMINGO hears a noise behind him. He turns.) DOMINGO SALMERON: You? (DOGGETT appears out of the darkness. He stares at DOMINGO intently. He raises NESTOR'S revolver at DOMINGO.) (DOGGETT is standing there in the dark.) DOGGETT: Did you send him after me? DOMINGO SALMERON: What? What's that mean? DOGGETT (pointing the gun toward DOMINGO): Did you send him to kill me? (DOMINGO shakes his head and looks down at his friend, NESTOR. He seems a little bit lost.) DOGGETT: Tell me who I am! (DOMINGO turns away from DOGGETT toward his dead friend, NESTOR.) DOMINGO SALMERON: I don't know who you are. DOGGETT: Tell me who I am! (DOMINGO rises to face DOGGETT.) DOMINGO SALMERON: I don't know, you son of a bitch! But you killed my friend. You're a killer. That's who you are. DOMINGO SALMERON: Desaparecido. You're one of the disappeared ones. DOGGETT: What's that mean, disappeared? Disappeared by who? DOMINGO SALMERON: The cartel. They own the town -- everything and everybody. People who make trouble for them wind up dead. Other people who make more trouble dead than alive get this. (DOMINGO taps a finger against his temple.) DOGGETT: They took away my memory? How?! How do I get it back? (DOMINGO shakes his head.) DOMINGO SALMERON: You don't. That's the point. (DOGGETT stares at DOMINGO. He has a flashback.) INTERCUT WITH: SCENE #25: [INT. DOGGETT FAMILY HOUSE - MORNING (QUICK MEMORY HIT)] (Fast-forward through the flashback memories he's already had. DOGGETT is lying in bed. The little blonde-haired boy is jumping on the bed trying to wake him up. The boy jumps down. He glances at the clock. The boy gets him up eager to show him his surprise. DOGGETT gets out of bed to follow the little boy.) LUKE: Daddy, daddy? ... Get up, I wanna show you something. C'mon! Come on. Come on! (It ends abruptly.) (The pain is excruciating. It's also incapacitating DOGGETT. He falls to his knees, the gun still clutched in his hand. His other hand plastered to his head. It's his worst pain yet. DOMINGO stands above him witness to his pain. He approaches DOGGETT and carefully removes the gun from his grip and puts it aside. DOGGETT'S head is in his hands; he's still in pain. DOMINGO hits DOGGETT and proceeds to beat the crap out of him.) CUT TO BLACK. SCENE #26: [EXT. CIUDAD STREET -- NIGHT] (A photo of DOGGETT slides into frame by a woman's hand.) FIRST COP (in subtitled Spanish): Who's asking? (A 200 peso note is pushed atop the photo.) REYES (in subtitled Spanish): Just a concerned party. (We see that the man speaking is the FIRST COP. He's getting his shoes shined at a street side vendor. The SECOND COP is nearby. No one touches the money. He looks at the woman. It's REYES.) FIRST COP: May I see some identification? (REYES reaches into her pocket and pulls out her Mexican Driver's license. The FIRST COP take the ID and examines it.) FIRST COP: You're Mexican? REYES: Born and raised. (She's both sad and earnest. She slips another bill on top of the first.) REYES: Please, help me brother. He ran out on me and my kids. (She's very believable. The FIRST COP mulls it over, then stands up. His shoe shine is completed. He hands REYES her ID back and picks up the money.) FIRST COP: Come to think of it, our previous shift came upon an American. They reported he'd been beaten very badly, sorry to say. REYES: (concerned) Where is he now? CUT TO: SCENE #27: [INT. EMBALMING ROOM - NIGHT] (A ratty old curtain parts. REYES enters the room. REYES enters the room. There is a body on a table covered with a sheet. REYES enters the room slowly. She looks down on the body. The sheet is covering the person's face, only his forehead and hair are exposed. Looking down, she removes the sheet covering the person's face. It is not DOGGETT.) (It's the missing American banker, HOLLIS RICE. His face is bruised and bloodied.) FIRST COP: I apologize. It's not the one in your photo. Just some homeless gringo. I guess. (She leans in and notices two crescent-shaped markings near the top of the man's hairline. One on each side of the man's balding temples. It's the same wounds that we saw on DOGGETT.) REYES: What are those? (The FIRST COP shakes his head. He doesn't know.) CUT TO: SCENE #28: DAY THIRTEEN [INT. CANTINA -- MORNING] (The CABALLERO sits alone at his usual table. As it's early in the day, he drinks coffee and reads a Tampico newspaper. The establishment is empty except for the BARTENDER. DOMINGO nervously enters the bar and approaches the man. He looks heart broken. He remains standing.) DOMINGO SALMERON (in Spanish): Sir, my friend Nestor is dead. (THE CABALLERO indicates that DOMINGO should sit, He wants to hear more. DOMINGO is emotional and works to keep control over them.) DOMINGO SALMERON (in Spanish): I come to you because I realize Nestor would not have tried to kill the American without your permission. (DOMINGO SALMERON speaks respectfully, however, within him is an undercurrent of resentment that is not lost on the CABALLERO.) CABALLERO: Where is the American now? DOMINGO SALMERON: I left him lying in my garage. He held a gun on me, but I took it from him. CABALLERO: (quietly satisfied) You killed him? (DOMINGO shakes his head, no.) DOMINGO SALMERON: I left him there for you. (He raises his eyes to the CABALLERO, fearful but resolute.) CABALLERO: You talked with the American while he held a gun on you? (DOMINGO nods. He looks nervous. He's somehow said too much. He's more cautious now.) CABALLERO: What did you tell him? DOMINGO SALMERON: Nothing. (THE CABALLERO leans forward, closer to DOMINGO, his gaze piercing. DOMINGO grows even more nervous.) CABALLERO: I find that hard to believe. I'm afraid I'll have to see with my own eyes. (DOMINGO looks scared now. THE CABALLERO'S eyes begin to glow an eerie translucent yellow and he raises his hands toward DOMINGO'S temples. DOMINGO looks as if he wants to look away, but he can't. The CABALLERO sinks his thumbs into DOMINGO'S temples. Blood runs down his temples. This explains the crescent marks on DOGGETT. And according to the script, "when it happens, it's like plugging a firewire into a computer. The contents of DOMINGO'S head download." Sharing this information with you because I'd never have guessed and thought you'd want to know what was happening here.) CUT TO: SCENE #29: [INT. GARAGE - MORNING - SUNLIGHT] (DOGGETT is on his back on the garage floor. A shaft of light filters in through the window above. He slowly gains consciousness. He seems to be in pain as he slowly gets up. He glances over and sees NESTOR on the ground some distance away from him, dead.) (DOGGETT appears to be pretty well beaten up, with one eye swollen, his lip cut and dried blood smeared on his face from his nose. He hastily gets up as he hears a car approach outside. He carefully peers out of the dirty window. All he sees is a car parking near the garage. The glass is too dirty for us to see who is inside. He has no guarantees that whomever is there is a friend. DOGGETT grabs the tire iron from the nearby table and positions himself behind the door prepared to take out his visitor.) (The garage door opens and REYES walks in. She has her gun out. In fact, we see the sig first, gripped two-handed before we ever see a face. DOGGETT swings. REYES ducks. She turns around and points the gun at DOGGETT who has his hands deceptively up in surrender. However, this time, REYES is stunned to see DOGGETT alive and well in front of her.) REYES: John I've been looking for you everywhere. (We've seen him do this move before. DOGGETT doesn't recognize her at all. He takes advantage of her hesitation and quickly disarms her. He spins her around and slams her into the side of the bus, successfully pinning her with her arms behind her back. REYES doesn't put up a fight.) DOGGETT: Who the hell are you? (DOGGETT centers the gun at REYES' back.) REYES: I'm your partner Monica. Your name is John Doggett. You're an FBI agent. Do you remember? (He doesn't remember, however he does recall NESTOR calling him FBI.) REYES: John, trust me. We got to leave. I'll explain it in the car but we're not safe here. (DOGGETT hesitates, then lowers the weapon and lets REYES go.) (Outside, more cars are approaching. The two agents glance through the grimy window and see three municipal police cars speed down the dusty road and come to a screetching halt in front of the garage. They block the only access road out.) (The FIRST COP and SECOND COP and four other officers climb out of the cars, drawing their pistols or pulling out shotguns from their trunks. They position themselves behind their cars and draw their weapons on the two agents inside the building.) (DOGGETT and REYES look at each other.) FADE TO BLACK. (COMMERCIAL SET) SCENE #30: [INT. DOMINGO'S GARAGE -- MORNING] (REYES looks out of the grimy window at the SECOND COP as he stands behind his car door and addresses the agents through his hand-held loudspeaker.) SECOND COP (in unsubtitled Spanish): Occupants of the building, come out immediately. Exit the building with your hands up. (While REYES listens intently, DOGGETT is busy pulling a chain through the locks of the door and padlocking it securely shut.) REYES (interpreting): They're telling us to come out. DOGGETT: Sure, they want us to make it easy for them. Cartel owns the cops in this town. They're going to kill us. REYES: They're going to try. (DOGGETT nods and pulls out REYES' handgun. He likes this woman's attitude. They look at each other and they make a decision to fight and not give in.) DOGGETT: Take cover. It won't be long before they get tired of waiting. (REYES and DOGGETT move further into the garage behind the protection of the bus. REYES crouches. DOGGETT remains standing; her gun in his hands.) DOGGETT: So, we're partners, huh? How long we been working together? REYES: Not long. But we've known each other for years. (In the background, the Police speak through the blowhorn.) POLICIA (outside): (Police speaking spanish ) REYES (interpreting): They're giving us one minute. (DOGGETT crouches next to REYES. He wants more information about himself and the flashes he remembers.) DOGGETT: What's the name of my son? (He catches REYES completely off guard by the question. DOGGETT misunderstands her surprise and continues to speak, enthused and hoping to find out some information about himself.) DOGGETT: Think it's weird. It's the only thing I can remember is I have a son. I can see his face, but I can't remember his name. (REYES studies him closely. She's unsure of how much she's supposed to say.) REYES: Luke. (REYES turns away from DOGGETT to look around the bus.) DOGGETT: Luke. How old is Luke? I can't even remember that. (REYES is silent for a moment. She can't believe that she has to relieve this moment. REYES doesn't want to tell him the truth about his son, and yet, she can't lie to him. She turns to face DOGGETT, but is unable to say the words. DOGGETT looks to her. He's staring at her closely. He sees the look on her face - one that she can't hide. In it, he understands what she's not saying. It all comes back to him.) DOGGETT: Oh, god. Oh, god, no. (DOGGETT remembers what happened to LUKE. Tears well in his eyes.) DOGGETT: He's dead. He was murdered. Is that right? Is that right?! (REYES still doesn't answer. She nods her head slightly. DOGGETT is overcome with emotion as he remembers what happened to his son.) DOGGETT: He was kidnapped. He was just a little boy ... he was ... oh! (DOGGETT can't continue. His grief is overwhelming.) REYES: The FBI got involved. I was assigned to the case. That's when you and I met. DOGGETT: Oh, god! (REYES' attention is pulled away from DOGGETT by the sound of something hitting the garage floor. It's tear gas. REYES sees this. The police outside have grown weary of waiting. Smoke fills the garage. REYES turns back to DOGGETT. Still kneeling, she tries to get his attention.) REYES: Oh, god, John, they're smoking us out. John, I need you here. I need you to focus here, John. (DOGGETT is in his own little hell and can't hear her. REYES grabs her gun from DOGGETT and moves to deal with the problem herself. She throws an old worn cloth over the smoking canister and throws it back out the window. She's coughing. The Police see her by the window and begin firing on the garage. Another smoking canister is fired into the garage. REYES gets off a couple of shots then goes back to the grieving DOGGETT.) REYES (firmly): John! John! (REYES grabs ahold of his shirt.) REYES: If we're going to die here you're going to die on your feet! You hear me? (She shakes him.) Do you hear me?! (He does. DOGGETT raises his head and gets control of himself. The gunshots from outside haven't let up.) DOGGETT: Get in the bus. (REYES stares at him. She understands.) CUT TO: [EXT. DOMINGO'S GARAGE - CONTINUOUS] (The FIRST COP still fires his gun on the building from behind his car door. A low rumbling sounds and the bus that DOGGETT had been working on crashes through the garage door. The police scramble to get out of its way as the bus plows straight through them. It's traveling in reverse.) (From within the bus, REYES holds on tight to the bus railing. DOGGETT is driving the bus. His attention split between looking at the road behind them and at ducking the gunshots from the police in front of them. Several police have already found their way to their feet and now fire at the front of the bus. Several bullets break through the windshield. DOGGETT hunkers down low behind the wheel as he struggles to keep control of the bus.) DOGGETT: Hang on! (A bullet breaks the windshield right in front of REYES sending her crashing to the bus seat behind her, glass shattering around her. DOGGETT continues to drive the bus backwards away from the police in front of them. He gets no more than a few hundred yards out before he loses control of the bus and it rolls onto its side.) (DOGGETT and REYES are sitting ducks inside the bus. The police outside slowly approach the vehicle, their weapons drawn.) (From nowhere, three "FEDERAL CAMINOS" SUVs carrying the Mexican Federales appear and stop between the flipped bus and the approaching police. The police are stunned as the Mexican Federales apprehend them. One by one, the police drop their weapons in surrender.) (Skinner, in his FBI jacket, exits one of the vehicles and starts scanning the grounds for his agents. He slowly approaches the tilted bus, a cautious stride, his gun in his hand. He peers in through the windshield and is relieved to see that he's not too late.) CUT TO: SCENE #31: [INT. CANTINA - DAY] (The silver skull charm hits the table. The CABALLERO picks it up and looks at it. DOGGETT is standing before him. Strong. Defiant. Behind him near the door, SKINNER, REYES and several Mexican Federales wait patiently for DOGGETT to finish.) DOGGETT: You work for the cartel. You make their enemies disappear. Desaparecido. You understand me? CABALLERO: I speak English, but I don't understand you. DOGGETT: Like hell you don't. (DOGGETT indicates the markings on his head. DOGGETT'S rage is held tightly in check. His anger simmering just above the surface.) DOGGETT: You gave me these ... when you took my memory. I have no idea how you do it but everything I am, everything I have -- my identity -- you robbed that from me. CABALLERO: I don't know who has been saying those things to you. How can you prove them? (The CABALLERO is smug. He feels that DOGGETT can't prove what he claims. DOGGETT, however, is determined to bring down the CABALLERO a peg or two. Although his memory is still hazy, DOGGETT connects the dots to prove that he IS remembering.) DOGGETT: I was searching for a man, a banker from Texas ... Hollis Rice was the banker. (The CABALLERO is surprised. DOGGETT continues. Stronger. More confident.) DOGGETT: He was out of his mind. He didn't even know his name. You robbed him of that. And then you tried to do the same thing to me. (The CABALLERO is no longer smug.) DOGGETT: You failed, you son of a bitch. I remember everything. SKINNER: Agent Doggett leave him to us. (DOGGETT considers the man before him, then turns to leave. He stops at the CABALLERO'S words. CABALLERO: Why would you want to remember? You can't tell me you're happier now because you recall your life. (DOGGETT pauses. He turns back.) CABALLERO: I saw it all. So much pain. Why would you want to struggle so long and hard to get that pain back? DOGGETT: Because it's mine. (DOGGETT leaves. REYES studies the CABALLERO a mere moment, then follows DOGGETT. SKINNER moves in ... ) CUT TO: SCENE #32: [EXT. DOGGETT FAMILY HOUSE - MORNING (MEMORY)] BLACKNESS. (Through the blackness, a small pin prick of light emerges and engulfs the darkness with its brightness.) (The front door opens. LUKE runs down the steps. He's followed by his father. LUKE runs over to his bicycle lying on the curb and picks it up. He throws a leg over it and begins to ride on the street in front of his father. DOGGETT understands now what he son wanted to show him.) LUKE: Look, daddy! I can do it. (DOGGETT'S eyes light up with pride as he enjoys the moment and watches his son from the side. He clearly shares the joy in his son's achievement in learning to ride his two-wheeler.) FADE TO WHITE. SCENE #33: [EXT. CANTINA -- CONTINUOUS] (DOGGETT is leaning against the police SUV on the dusty road. It's a close up shot of him shown ten years older, dirty and beat up. Regardless, he seems more complete now that he has his old memory. He's thinking. REYES approaches him and stops in front of him.) REYES: John ... I'm so sorry ... about Luke and about you having to relive that. DOGGETT: I'll take the bad as long as I remember the good. (A touch of sadness lingers around DOGGETT as he now has his memory back. The camera pans back and widens on DOGGETT, REYES and the dusty Mexican Town.) FADE TO BLACK. ========================== THE END ========================== [Captioning sponsored by Fox Broadcasting Company Twentieth Century Fox Television and Toyota. Get the feeling. Captioned by media access group at WGBH access.Wgbh.Org] For corrections / inaccuracies contact: steph@philedom2k.com or the Transcriptionist: intrepid (intrepidly002@yahoo.com) All Spanish Translations into English are from the Official X-Files Shooting Script. Copyright 2001 (c) Twentieth Century Fox Film Corporation - All Rights Reserved. Spanish translations/interpretations were taken off of closed-captioning. Special Thanks to the anonymous viewer who graciously and generously shared the Spanish Translation information with us. The songs used in the episode are "La Calentura" by Roberto Ruiz (in the cantina) and "Juana La Cubana" by Fito Olivares (in the garage). ========================== TV BEGINNING CREDITS & OS SITE CAST INFORMATION (where available) ========================== 9X07: JOHN DOE #9ABX07 ORIGINAL AIR DATE: 01/13/2002 WRITTEN BY: VINCE GILLIGAN DIRECTED BY: MICHELLE MacLAREN Starring: GILLIAN ANDERSON as Special Agent Dana Scully ROBERT PATRICK as Special Agent John Doggett ANNABETH GISH as Special Agent Monica Reyes MITCH PILEGGI as Assistant Director Walter Skinner Created by Chris Carter Also Starring: JAMES PICKENS, JR. as DD Kersh Guest Starring: FRANK ROMAN as Domingo Salmeron RAMON FRANCO as Nestor ZITTO KAZANN as Caballero RENE RIVERA as First Cop EDUARDO ANTONIO GARCIA as Mr. Mariano Molina F. J. RIO as Second Cop (non-speaking) Music by MARK SNOW Editor: LYNNE WILLINGHAM, A.C.E. Production Designer: COREY KAPLAN Director of Photography: BILL ROE, ASC Producer: TONY WHARMBY Producer: HARRY V. BRING Supervising Producer: DAVID AMANN Supervising Producer: PAUL RABWIN Co-Executive Producer: KIM MANNERS Co-Executive Producer: MICHELLE MACLAREN Executive Producer: JOHN SHIBAN Executive Producer: VINCE GILLIGAN Executive Producer: FRANK SPOTNITZ Written by: VINCE GILLIGAN Directed by: MICHELLE MACLAREN ========================== TELEVISION ENDING CREDITS ========================== 9X07: JOHN DOE ORIGINAL AIR DATE: 01/13/2002 9ABX07 Executive Producer: Chris Carter Associate Producer: DENISE PLEUNE Executive Story Editor: STEVEN MAEDA Story Editor: THOMAS SCHNAUZ Co-starring: Mrs. Doggett: BARBARA PATRICK (non-speaking) Luke Doggett: ZACHARY HANDY Luke Doggett: JACOB HANDY Marine Sergeant McCormick: BO KANE Crackhead: LUIS ROBLEDO Bartender: ALFRED DE CONTRERAS (non-speaking) Lawyer: CHARLIE HARTSOCK Operator: LUCY RODRIGUEZ Casting by: RICK MILLIKAN. C.S.A. Unit Production Manager / Co-Producer: TIM SILVER First Assistant Director: BARRY K. THOMAS Second Assistant Director: NINA JACK Visual Effects producer: MAT BECK Art Director: SANDY GETZLER Set Decorator: TIM STEPECK Assistant Set Decorator: RON FRANCO Leadman: DAVE NAPOLI Script Supervisor: CAROL BANKER Gaffer: JONO KOUZOUYAN Key Grip: TOM DOHERTY Special Effects: KELLY KERBY Stunt Coordinator: DANNY WESELIS Visual Effects Supervisor: JOHN WASH Make-up Department Head & Special Make-up: CHERI MONTESANTO-MEDCALF Special make-up: MATTHEW W. MUNGLE Hair Department Head: DENA GREEN Make-up for Ms. Anderson: LAVERNE MUNROE Costumer for Ms. Anderson: NADINE HADERS Costume Designer: LUELLYN HARPER THOMAS Costume Supervisors: ROBERT JACOBS / JENNIFER SOULAGES Property master: TOM DAY Camera Operator: JIM ETHERIDGE Steadicam Operator: STEPHEN COLLINS Location Managers: ILT JONES / MAC GORDON / MICHELLE LATHAM Transportation Coordinator: STEVE DUNCAN Construction Coordinator: STEVE DUNCAN Construction Coordinator: DUKE TOMASICK Sound Mixer: RON COGSWELL Production Accountant: NANI ETCHELLS Production Coordinator: JASON A. SCHOMAS Script Coordinator: MICHAEL DALEY Researcher: KATRINA CABRERA ORTEGA Writers' Assistant: GABE ROTTER Post Production Coordinator: JASON HARKINS Original Casting by: RANDY STONE, C.S.A. Casting Associate: KIMBERLY NORDLINGER Casting Assistant: ELISHA GRUER Extras Casting: CENTRAL CASTING & CENEX Second Unit Director of Photography: BOB LABONGE First Assistant Director: XOCHI BLYMYER Second Assistant Director: STACI LAMKIN BOGGERI Gaffer: DON BIXBY Key Grip: JOEY KRAFT Assistant Editors: JEFF CAHN / DEBORAH CHALEW Scoring Mixer: LAROLD REBHUN Music Editor: JEFF CHARBONNEAU DaVinci Colorist: ANTHONY R. SMITH Dallies Colorist: PETER RITTER On-Line Editors: KIP GIBSON / MARTY ROSENSTOCK Post Production Sound: WEST PRODUCTIONS, INC. Sound Supervisors: HARRY ANDRONIS / JOE JOHNSTON Re-Recording Mixers: DAVE WEST / HARRY ANDRONIS / SAM BLACK Vice-President, Ten Thirteen: MARY ASTADOURIAN Office Manager, Ten Thirteen: JANA FAIN Assistant to Chris Carter: BRAD FOLLMER Assistants to the Producers: SANDRA TRIPICCHIO / GENNIFER HUTCHISON / BLAKE MCCORMICK / GINGER WADLEY / STEPHANIE M. HERRERA Main Title Design by IMAGINARY FORCES Original Main Title Concept by: CASTLE / BRYANT / JOHNSEN Processing by DELUXE LABS Telecine & Electronic Assembly by HOLLYWOOD DIGITAL Presented in DOLBY SURROUND where available Camera Systems by PANAVISION This production has not been approved, endorsed, or authorized by the Federal Bureau of Investigation. Copyright (c) 2002 Twentieth Century Fox Film Corporation All rights reserved #9ABX07 Twentieth Century Fox Film Corporation is the author of this motion picture for purposes of copyright and other laws. The characters and events depicted in this photoplay are fictitious. Any similarity in actual persons, living or dead, is purely coincidental. Ownership of this motion picture is protected by copyright and other applicable laws, and any other unauthorized duplication, distribution or exhibition of this motion picture could result in criminal prosecution as well as civil liability. Revised: 06/14/2002~lky